This album is just a purer distillation, a more joyous exaggeration of the smaller, more tasteful thrills offered by every posturing indie rock band out there.

'Damaged' is a hugely welcome addition to Lambchop's now frighteningly impressive back catalogue, and an album with few limitations.

Although Darnielle's incessant lyrical urgency occasionally causes some words to sound too forced, it's these delicate, well placed notes, minimal piano tinkles and two chord strums that save the songs.

While not quite aspiring to the lofty benchmark of 'Whatever, Mortal', this recovers the lost ground of 'Pajo'.

This is an album of gin-fuelled laments, uprisings and battered beauty: such dignity and sharp proficiency shows he can only do better.

Even if you only have a passing interest in 70s heavy rock this album is nigh on essential.

If you're the sort of person who only buys one metal album a year, then you'd probably be better off buying the new Mastodon album 'Blood Mountain' and going to see Slayer live but otherwise, what the hell are you waiting for...

'Monsieur Gainsbourg Revisited' is an often fascinating and enchanting compilation as these things go, though I say, somewhat predictably, that there's no substitute for the real thing.

This is probably the most exciting record that Domino will release in 2006, eleven songs of hillbilly hoe-down, gothic atmospherics, scuzzy rock & roll, acerbic post punk noise, and dark sexuality.

Delicately layered with ornate instrumentation and hushed vocals, perfectly poised between joyful and damaged, 'Personality' sees off the previously over-obvious obsession with America's dizzy expanses and endless horizons, instead offering something infinitely more natural and personal.

'Nightlife' is a record that demands to be heard, for not only is it Erase Errata's best album yet, but also one of the finest to emerge from the leftfield this year.

An exceptional debut.

Muse's magnificent powerhouse that is new album 'Black Holes And Revelations' rectifies - almost - everything that once was wrong.

What "Happy New Year" really represents is Oneida's finest, most complete record to date, and as such it's the perfect starting point for anyone who's as yet unfamiliar with their rather daunting back catalog.

On 'Impeach My Bush', Peaches has significantly upped her game with a greater leap from 'Fatherfucker' than there was between that album and debut 'The Teaches Of Peaches'.

'The Eraser' is Radiohead's fourth best album, and not bad considering it's the first one with only one man on it.

'Fundamental' will not only be rated up there among the Pet Shop Boys finest albums -- it's also arguably the best electro pop record we've heard in years.

Aside from a few duff tracks 'Loose' is an absolute beauty that couldn't have arrived at a better moment.

You will have to surrender yourself completely to this record, for left as background music it will waft pleasantly around your head and out your window.

'Victory for the Comic Muse' is the Divine Comedy's finest album since their post-Britpop Chris Evans-approved heyday.

They have developed into an almost evangelically uplifting and powerful rock unit.

Too often, though, as on the lacklustre title track 'Favours For Favours' or 'Thursday', it has to be said that the new beast just isn't as feisty as the one-trick pony of old.

'The Warning' is a splendid combination of braindance and footdance.

'Rather Ripped' is the most accomplished and mature album Sonic Youth have done in years.

Like scoffing a King sized Mars Bar, the instant gratification and sugar rush is soon superseded with nausea, whining and guilt.

Yes, 'Let's Get Out Of This Country' is a ludicrously fey, coy, twee and light record that could very feasibly be knocked out by an injured butterfly, it's that gentle. But it's also a gorgeously produced, beautifully romantic and ultimately uplifting record.

Sophomore album 'The Only Thing I Ever Wanted' is the work of a band with a keening melodic sense, akin to the development apparent in the prime works of, say, Idlewild or the Delgados, and, impressively, it does this without losing any of the idiosyncratic DIY charms that characterised its makers in the first place.

Put 'Peeping Tom' on the stereo and it's as slickly dark and eminently devourable as Hip-Hop with R&B overtones can be, though whack it on the headphones and you're introduced to something infinitely superior.